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Contents

Cover; LIST OF PLATES; AUTHOR'S FOREWORD; TRANSLATOR'S FOREWORD AND ACKNOWLEDGEMENTS; PUBLISHER'S NOTE; Part I Paleography; 1 VARIOUS CONVENTIONS AND SIGNS USED IN WRITING; The voices; The disposition of voices in manuscripts and printed editions; The clefs; Canon; The direct; The pause; Repeat marks; The flat, sharp and natural; 2 THE NOTATION OF POLYPHONY; The notes and rests; Note-values in relation to each other; 3 NOTE-VALUES IN RELATION TO THE BAR; The bars in use during the sixteenth century; The existence of the ternary bar in the sixteenth century

4 THE NUMBER OF NOTES IN EACH BAR AND IN EACH OF ITS PARTSThe sign of time imperfect (tempus imperfectus); The sign of time perfect (tempus perfectus); Prolation; 5 THE PROPORTIONS; The signs of time perfect and time imperfect accompanied by proportional numbers; Proportional signs by themselves; Ligatures; 6 MODALITY; Rules for determining the mode of a piece of polyphony; 7 THE SEMITONÍA; The problem; The sources; 8 THE SEMITONÍA IN CADENCES; The definition of cadence; Cadences in each mode; The use of cadences; The semitonía in the concluding bar

9 THE USE OF THE SEMITONÍA APART FROM CADENCES10 CHROMATIC PROGRESSION; Ascending chromatic progression; Descending chromatic progression; Augmented and diminished intervals; 11 THE UNDERLAYING OF TEXT; The problem; The sources of information; The ten rules of Zarlino; Part II Musical Forms of Classical Polyphony; 12 THE GENERAL THEORY OF MUSICAL FORMS; The materials of construction; Modality and tonality; Harmony; Counterpoint; 13 THE THEMES; Borrowed themes; Melodic themes; Polyphonic themes; Original themes; Text and rhythm; 14 ORGANIZATION OF THE COMPLETE POLYPHONIC FABRIC; The beginning

Organization of the polyphonic fabric during the course of a compositionOrganization of the conclusion of a piece; Homophony; 15 THE SET MUSICAL FORMS OF POLYPHONY; The motet; The mass; The responsory; The hymn; Psalmody; Appendix; OBSERVATIONS ON THE INTERPRETATION OF POLYPHONY; The meaning of the word 'interpretation'; General principles; Expression; Tessitura; Tempo; Colour; NOTES; BIBLIOGRAPHY; I. INDEX OF TECHNICAL TERMS; II. INDEX OF MUSIC REFERENCES; III. INDEX OF NAMES

Summary

<P>The name of P. Samuel Rubio is known to students of Renaissance polyphony for his scholarly articles in learned periodicals, his editorship of different collections of sacred polyphony, and through his edition of the motets of Victory -- Tomás Luis de Victoria, Motetes, Vols. 1-4.</P>

Notes

Reprinted in 2018

Bibliography

Includes bibliographical references and index

Notes

Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. http://purl.oclc.org/DLF/benchrepro0212 MiAaHDL